The group has scaled down a bit (how much bigger could they get?) writing, rhapsodizing and crooning about lighter topics than usual. Similarly, the group--along with co-producers Rich Costey (Interpol), Mike Elizondo (Eminem, Fiona Apple) and Timbaland (Jay-Z, Missy Elliott)--has also changed up its sound with a mix of electro-punkish riffs and sprightly beats filtered into its densely layered orchestration. ... Refocusing their ambitions in a way that won’t alienate fans but also keeps them anticipating whatever might come next.

Yes, this is still Muse, but here they’re trying to be something else--well, everything else. They are avatars in a ridiculous simulation of teenage nerdery, inviting you to steal away from the nightmare, and into an electric dream.

This is a band that has given up on trying to look cool to most anyone, so Muse do here what they have always done and likely will always do—throw money at their latest fancy with the indiscriminate, earnest taste of a teenage boy. ... If there’s anything Muse truly nail here, it’s at last embracing just the right amount of camp.

Propaganda sounds like Muse are trying to be Prince, which isn’t entirely convincing, while Get Up and Fight bolts on a power ballad chorus to an elegantly restrained verse. But it’s still the less poppy moments that are most exciting.

Muse’s firm embrace of electronic tropes risks fragmenting their fan base, particularly those who had been by their side since their earlier days and would find certain elements of Simulation Theory to sound shockingly foreign. ... Listeners who had previously revelled in the moments where Muse dipped their toe into electronica will delight in finally seeing them cannonball into the pool. It’s polarizing for sure, but that’s not necessarily a bad thing.

It’s clearly leagues below what they’re capable of, but they’re at least moving forward with the styles of music that they want to create, uninhibited by expectations rooted in the past. This is essentially a synth-pop album, one that is at times exciting and unconventional and at other times tasteless and rudimentary.

There’s obviously still an audience for Muse, given by the size of the venues they still sell out, and this will definitely please the die-hards, but most of Simulation Theory simply fizzles out without leaving much of an impression.

Simulation Theory seems to fall into two territories--songs are either half-hearted nods to the best of their heavier rock-opera back catalogue, or futuristic, electronic pop-heavy tracks that borrow from bands more adept at that particular sound, and the vast majority of which are burdened with Bellamy’s political paranoia. For a new listener, it’s baffling. For a former, diehard fan, it’s disappointing.

Such an amazing album. Muse have't been so creative in years.
I coud write an essay on how good this album is, but who cares, I'm off toSuch an amazing album. Muse have't been so creative in years.
I coud write an essay on how good this album is, but who cares, I'm off to listening again.…Full Review »

Their most creative, fresh and entertaining release in a while. Simulation Theory its a good continue point, proving that Muse know how toTheir most creative, fresh and entertaining release in a while. Simulation Theory its a good continue point, proving that Muse know how to reinvent themselves every time they need.…Full Review »

This album is an absolute triumph. Every song just reels you in and doesn’t let go. From the synth heavy Algorithm, to the mellow, and somberThis album is an absolute triumph. Every song just reels you in and doesn’t let go. From the synth heavy Algorithm, to the mellow, and somber Void, it’s like each song has its own personality. It’s no wonder that even in the age of hip-hop, Muse have still managed to captivate their listeners. Even if you haven’t heard their earlier work, I’m sure you’ll still highly enjoy this album. Phenomenal work, 10/10.…Full Review »